Liz Smith

Without sounding existential about it, when does re-enacting become, in fact, acting? The question isn’t just theoretical or academic but actually quite pragmatic given the growth of what networks have come to call “structured reality,” conceding (albeit somewhat vaguely) that meticulous shaping goes into assembling unscripted programs.

Several networks have become increasingly overt and unabashed about these practices, which are as old as “The Hills.” Ratings suggest viewers don’t seriously mind. Nevertheless, the proliferation of such fare has led to a spreading gray area between fact and fiction. As evidence, consider the extraordinary disclaimer affixed to the Discovery series “Amish Mafia,” which says the show contains dramatic re-enactments “based on eyewitness accounts, testimonials and the legend of the Amish Mafia.”

Remember “The Man Who Shot Liberty Valance,” and the line about separating truth from legend in the Old West? In reality-TV’s untamed frontier, amend it as follows: “When the legend didn’t conveniently happen in front of a camera crew, re-enact the legend.” All of this would seem to have potential implications for SAG-AFTRA, the union representing performers.

The exec producer for Discovery on “Amish Mafia,” Dolores Gavin, said the network thought it was being responsible in identifying the reliance on re-enactments necessitated by dealing with the camera-shy Amish community, but added, “I would in no way say that this is a scripted show.” Still, she acknowledged not all re-creations are “with the actual individuals” who took part in the original encounters. In other words, the featured characters shot scenes with other people pretending to be someone they’re not. Not to be a stickler, but that sure sounds like acting.

As always, addressing unscripted TV’s business realities ultimately boils down to money. These shows have prospered because they’re relatively inexpensive to produce, and efforts to recognize the “stars” as actors — or those guiding them (dare one say “directing?”) through reenactments — opens a can of worms and would add to the costs. There’s also the little matter of snobbery and whether trained actors truly want to embrace these amateurs as fellow performers.

Still, the Academy of Television Arts & Sciences has already allowed reality hosts to occupy a prominent seat at its annual prom. Can an Emmy for outstanding performance in a reality show be far behind?